| Focus Features | Release Date: September 16, 2022 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
14
Mixed:
10
Negative:
1
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Critic Reviews
It is a beautiful blend of unforgettable physical performance and visual lyricism brought to bear on the tragic life story of the Gibbons twins, their wildly imaginative writing woven throughout like a sparkling thread, offering a brief glimpse into their realm of existence and imagination.
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SlashfilmSep 14, 2022
Sadly, as creative as The Silent Twins is, and as much homework as the filmmakers clearly did in replicating the details of the story and the works of the twins, the film never fully says anything meaningful. Not about the real Gibbons sisters, not about race, not about mental health and its treatment in the U.K.
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Layering one wild formal flourish over another — from macabre stop-motion animation to elaborately choreographed musical fantasies — to channel the inner lives of two young women who communicated only with each other, keeping the rest of the world outside their circle, it’s a swing for the fences that sometimes, almost by design, spins out of control.
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The director of The Lure has a knack for peculiar protagonists — not to mention mixing whimsy with darker textures — but her latest provocation wouldn’t be so affecting if not for the committed performances of Wright and Tamara Lawrance, who play sisters who understand one another when no one else does.
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Directed by Smoczynska, The Silent Twins feels like an art exhibit to be installed on a continuous loop on a TV inside a cage in a museum. There’s a barrier that holds the audience at a distance so that watching this film feels like studying an invasive social experiment that places the Gibbons twins on display — like caged parrots asked to sing.
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Screen RantSep 16, 2022
The acting, from both Black Panther's Letitia Wright as June and Tamara Lawrance as Jennifer, is a particular standout. Their commitment to delivering intriguing performances as troubled twins elevates this weak script and enables viewers to become fixated on what was happening to them.
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It’s undoubted that the Gibbons twins were both original thinkers who were victimized by a system that did not recognize them as autonomous people, but it’s unfortunate that The Silent Twins is keen to do the same, reducing them to vehicles for aesthetic flexing and moral lecturing, rather than, as they themselves would have requested, simply letting them be.
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However intrinsically fascinating the Gibbons sisters’ story might be, Smoczynska and Seigel’s interpretation of the material feels off somehow — a little too pleased with its own quirk, and too preoccupied with surface texture and color to help viewers truly understand its troubled protagonists.
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